Superman Was Supposed to Be a Bald Character, Obsessed with Dominating the World
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Superman's Girl Friend, Lois Lane and the Represe
Research Space Journal article ‘Superman believes that a wife’s place is in the home’: Superman’s girl friend, Lois Lane and the representation of women Goodrum, M. Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Please cite this publication as follows: Goodrum, M. (2018) ‘Superman believes that a wife’s place is in the home’: Superman’s girl friend, Lois Lane and the representation of women. Gender & History, 30 (2). ISSN 1468-0424. Link to official URL (if available): https://doi.org/10.1111/1468-0424.12361 This version is made available in accordance with publishers’ policies. All material made available by CReaTE is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Contact: [email protected] ‘Superman believes that a wife’s place is in the home’: Superman’s Girl Friend, Lois Lane and the representation of women Michael Goodrum Superman’s Girl Friend, Lois Lane ran from 1958-1974 and stands as a microcosm of contemporary debates about women and their place in American society. The title itself suggests many of the topics about which women were concerned, or at least were supposed to concern them: the mediation of identity through heterosexual partnership, the pressure to marry and the simultaneous emphasis placed on individual achievement. Concerns about marriage and Lois’ ability to enter into it routinely provide the sole narrative dynamic for stories and Superman engages in different methods of avoiding the matrimonial schemes devised by Lois or her main romantic rival, Lana Lang. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-21-2013 12:00 AM Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance Caitlin Foster The University of Western Ontario Supervisor Dr. Joseph Wlodarz The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Caitlin Foster 2013 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Advertising and Promotion Management Commons, and the Film and Media Studies Commons Recommended Citation Foster, Caitlin, "Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance" (2013). Electronic Thesis and Dissertation Repository. 1494. https://ir.lib.uwo.ca/etd/1494 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. CLASH OF THE INDUSTRY TITANS: MARVEL, DC AND THE BATTLE FOR MARKET DOMINANCE (Thesis format: Monograph) By Caitlin Foster Graduate Program in Film Studies A thesis submitted in partial fulfillment Of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Caitlin Foster 2013 Abstract This thesis examines the corporate structures, marketing strategies and economic shifts that have influenced the recent resurgence of the comic book superhero in popular Hollywood cinema. Using their original texts and adaptation films, this study will chronologically examine how each company’s brand identities and corporate structures have reacted to and been shaped by the major cultural and industrial shifts of the past century in its attempt to account for the varying success of these companies throughout their histories. -
Las Adaptaciones Cinematográficas De Cómics En Estados Unidos (1978-2014)
UNIVERSITAT DE VALÈNCIA Facultat de Filologia, Traducció i Comunicació Departament de Teoria dels Llenguatges i Ciències de la Comunicació Programa de Doctorado en Comunicación Las adaptaciones cinematográficas de cómics en Estados Unidos (1978-2014) TESIS DOCTORAL Presentada por: Celestino Jorge López Catalán Dirigida por: Dr. Jenaro Talens i Dra. Susana Díaz València, 2016 Por Eva. 0. Índice. 1. Introducción ............................................................................................. 1 1.1. Planteamiento y justificación del tema de estudio ....................... 1 1.2. Selección del periodo de análisis ................................................. 9 1.3. Sinergias industriales entre el cine y el cómic ........................... 10 1.4. Los cómics que adaptan películas como género ........................ 17 2. 2. Comparación entre los modos narrativos del cine y el cómic .......... 39 2.1. El guion, el primer paso de la construcción de la historia ....... 41 2.2. La viñeta frente al plano: los componentes básicos esenciales del lenguaje ........................................................................................... 49 2.3. The gutter ................................................................................. 59 2.4. El tiempo .................................................................................. 68 2.5. El sonido ................................................................................... 72 3. Las películas que adaptan cómics entre 1978 y 2014 ........................... 75 -
Table Des Matières
TABLE DES MATIÈRES PAGE 4 – PREMIÈRE PARTIE - DYNAMIQUE DUO P. 7 – “L’AFFAIRE DU SYNDICAT DE LA CHIMIE”, PAR BILL FINGER ET BOB KANE, DETECTIVE COMICS #27 (1939) P. 14 – “LA LÉGENDE DE BATMAN”, PAR BILL FINGER, BOB KANE ET SHELDON MOLDOFF, DETECTIVE COMICS #33 (1939) P. 17 – “ROBIN, LE GARÇON PRODIGE”, PAR BILL FINGER, BOB KANE ET JERRY ROBINSON, DETECTIVE COMICS #38 (1940) P. 29 – SOUS L’AILE DE LA CHAUVE SOURIS P. 31 – “ACCIDENTS INTENTIONNELS”, PAR DON CAMERON ET JACK BURNLEY, DETECTIVE COMICS #83 (1944) P. 43 – ARRÊTEZ LES ROTATIVES ! P. 45 – “LE SCOOP DU SIÈCLE”, PAR BILL FINGER ET LEW SAYRE SCHWARTZ, BATMAN #49 (1948) P. 57 – LE CÔTÉ OBSCUR PAGE 58 – DEUXIÈME PARTIE - CROISÉ EN CAPE P. 61 – “LE BATMAN DE DEMAIN”, PAR ED HAMILTON ET DICK SPRANG, DETECTIVE COMICS #216 (1955) P. 73 – LA «FAMILLE BATMAN» DE L’ÂGE D’ARGENT P. 75 – “L’ORIGINE DE L’ÉQUIPE SUPERMAN-BATMAN”, PAR ED HAMILTON ET DICK SPRANG, WORLD’S FINEST COMICS #94 (1958) P. 87 – L’UNION FAIT LA FORCE P. 89 – “LA MENACE DU MASQUE MYSTÉRIEUX”, PAR JOHN BROOME ET CARMINE INFANTINO, DETECTIVE COMICS #327 (1964) P. 105 – “LES DÉBUTS FRACASSANTS DE BATGIRL”, PAR GARDNER FOX ET CARMINE INFANTINO, DETECTIVE COMICS #359 (1967) P. 121 – RITE DE PASSAGE PAGE 122 – TROISIÈME PARTIE - CRÉATURE DE LA NUIT P. 125 – “LE SECRET DES SÉPULTURES VACANTES”, PAR DENNIS O’NEIL ET NEAL ADAMS, DETECTIVE COMICS #395 (1970) P. 141 – LA SAGA DU DÉMON P. 143 – “LA MORT RÔDE DANS LES CIEUX”, PAR ARCHIE GOODWIN ET ALEX TOTH, DETECTIVE COMICS #442 (1974) P. -
Crisis of Infinite Intertexts! Continuity As Adaptation in the Superman Multimedia Franchise
Crisis of Infinite Intertexts! Continuity as Adaptation in the Superman Multimedia Franchise Jack Peterson Teiwes ORCID identifier 0000-0001-8956-1602 Doctor of Philosophy November 2015 School of Culture and Communication The University of Melbourne Submitted in total fulfillment of the requirements of the PhD degree Produced on archival quality paper Abstract Since first appearing as a comic book character over three quarters of a century ago, Superman was not only the first superhero, spawning an entire genre of imitators, but also quickly became one of the most widely disseminated multi-media entertainment franchises. This achieved a degree of intergenerational cultural dissemination that far surpasses his comic book fandom. Yet despite an unprecedented degree of adaptation into other media from radio, newspaper strips, film serials, animation, feature films, video games and television, Superman’s ongoing comic books have remained in unbroken publication, developing a long and complex history of narrative renewal and reinvention. This thesis investigates the multifaceted intertextuality between the comic book portrayals of Superman and its many adaptations over the years, including how such retellings in other media have a generally stronger cultural impact, which exerts in turn an adaptive influence upon these continuing comics’ internalised narrative continuity. I shall argue that Superman comics, as a case study for the wider phenomenon in the superhero genre, demonstrate via their frequent revisions and relaunches of continuity, a process of deeply palimpsestuous self-adaptation. The Introduction positions my research methodology in relation to intertextual theory, with an emphasis on providing terminological clarity, while Chapter 1 expands into a literature review on pertinent key scholarship on adaptation studies and the comics studies field specifically. -
Alter Ego #78 Trial Cover
Roy Tho mas ’ Earth-Two Comics Fan zine No.93 JUSTICE May 2010 ON TWO $ 7.95 WORLDS! In the USA WE’RE COMING! WE’RE t r a o COMING! n & r i e t h n M t a . T o f h n s ; s I s e a c o e i r m n e i m A h o m r C m A a i L J C C J D & 0 & 1 0 0 A 1 2 S 0 J 2 © © QUICK, WHY DON’T GARDNER! YOU JUST EDIT WRITE US OUT US OUT OF IT, OF THIS JULIE? CRISIS! PPLLUUSS:: 05 1 82658 27763 5 & GEORGE KASHDAN Vol. 3, No. 93 / May 2010 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert WITH Editorial Honor Roll NOW Jerry G. Bails (founder) 16 PAGES Ronn Foss, Biljo White ! Mike Friedrich OF COLOR Cover Artist Carmine Infantino & Jim Amash Cover Colorist Tom Ziuko With Special Thanks to: Jack Adams Wendy Hunt Heidi Amash Carmine Infantino Dave Armstrong Terence Kean Mark Arnold Jim Kingman Contents Bob Bailey Paul Kupperberg Kevin Barber Bruce Mason Writer/Editorial: All In Color For A Crime . 2 Jerry Beck Kevin McConnell Earth-Two: A Mini-History . 3 Jon Berk Clifford Meth Kurt Mitchell shines the spotlight on every true comics fan’s second-favorite planet. Dominic Bongo Kurt Mitchell Rich Buckler Sheldon Moldoff Justice on Two Worlds . 6 Mike Burkey Brian K. -
RAynor's ARtfully PRofiled HIs IDeal COmics, Or
Gosh! Raynor's Artfully Profiled His Ideal Comics, or GRAPHIC Edited by Raynor Kuang Questions by Raynor Kuang, Jarret Greene, Aaron Kashtan, Erik Owen And with thanks to Peter Parker, Bruce Wayne, and L. Kuang, the heroes of my childhood Round 2 Tossups 1. In a climactic moment in this manga, Yamagata’s head explodes as he attempts to shoot a former teammate. Lady Miyako establishes a cult in this manga and later convinces a character to stop using headachequelling pills. One character in this manga loses an arm after being struck by a (*) spaceguided laser directed by Colonel Shikishima. This manga was created by Katsuhiro Otomo, and it opens with one character passing out after crashing into the Esper Takashi. The main characters of this manga include the bikers Kaneda and Tetsuo, and the title boy, who triggered a psychic explosion prior to the events of this manga. For 10 points, name this cyberpunk manga set in a futuristic “New Tokyo” that was later adapted into a cult anime film. ANSWER: AKIRA 2. Before being imprisoned in the Stranger’s Labworld, the “Prime” version of this character transformed three heroes into part of the Young Gods. The Fantastic Four damaged a propulsion unit used by this character which caused him to be broken apart by the Sun. This character attempted to conquer the Rigelians while it was part of the (*) Black Galaxy, and it was created by the Stranger. This character housed the Wanderers after Thor rescued it from an attack by Galactus, and the original explanation for its birth was its coming into contact with the consciousness of a human. -
“A PROPHECY in FOUR COLORS?” the SCINTILLATING UNSEEN CREATIONS of GOLDEN AGE ARTISTS $9.95 HAL SHERMAN, in the USA LEE HARRIS, No
Roy Thomas' Prototype Comics Fanzine “A PROPHECY IN FOUR COLORS?” THE SCINTILLATING UNSEEN CREATIONS OF GOLDEN AGE ARTISTS $9.95 HAL SHERMAN, In the USA LEE HARRIS, No. 162 & FRANK FOSTER! January 2020 WILL MURRAY ON THE POSSIBLE PULSE-POUNDING PREDECESSORS OF SOME OF COMICS’ GREATEST! SUPER-HEROES 1 82658 00375 3 Figure at left © Estate of Frank Foster; central figure of Hal Sherman; figure at right © Estate Harris Levey. Vol. 3, No. 162 / January 2020 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Christopher Day Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Don’t STEAL our J.T. Go (Assoc. Editor) Digital Editions! Comic Crypt Editor C’mon citizen, Michael T. Gilbert DO THE RIGHT THING! A Mom Editorial Honor Roll & Pop publisher like us needs Jerry G. Bails (founder) every sale just to survive! DON’T Ronn Foss, Biljo White DOWNLOAD Mike Friedrich OR READ ILLEGAL COPIES ONLINE! Buy affordable, legal downloads only at Proofreaders www.twomorrows.com Rob Smentek or through our Apple and Google Apps! William J. Dowlding Cover Artist & DON’T SHARE THEM WITH FRIENDS OR POST THEM ONLINE. Help us keep Shane Foley producing great publications like this one! Cover Colorist Glenn Whitmore Contents With Special Thanks to: Writer/Editorial: A Prophecy In Four Colors? . 2 Paul Allen Tom Horvitz Heidi Amash Carla Jordan Super-Hero Skullduggery -1941? . 3 David Armstrong Joyce Kaffel Will Murray unlocks the mystery of the lost Batman, Wonder Woman, & Tarantula! Richard Arndt Jim Kealy The Golden Bat . 35 Bob Bailey Paul King Dan Hagen tells us all about Japan’s “Dark Samurai” of 1931. -
Sample Essay #1 This Essay Uses the Following Page from the First Appearance of Batman, in Detective Comics 27, Which Is Reproduced Here
Sample Essay #1 This essay uses the following page from the first appearance of Batman, in Detective Comics 27, which is reproduced here. You do not need to reproduce the comic page in your essay. Bob Kane (artist) and Bill Finger (writer), “The Case of the Chemical Syndicate,” Detective Comics #27, May 1939, page 3. Damian Wayne Essay Assignment #1 Comic Books and Graphic Novels Prof. Kuskin The Dark Knight and the Darkness of Our Competitive World Batman, invented by Bob Kane with the substantial help of Bill Finger, is the most important superhero, even if he is not the first. Page two of “The Chemical Syndicate,” in Detective Comics #27 does not look like much, but it launched “The Bat-Man” into American culture. Batman’s legacy includes comics, radio, television, and films. There are three important things about Batman that every reader must ponder: first, the Batman is not the first comic book superhero, but he is the first one to be dark and brooding. Second, he has no powers and in this way, he is represents us all. If we combine these two representations, we come to a third point: Batman shows us that we live in this world without powers and as we engage with this world we are brought into its darkness. Batman, a model for us all, forces us to realize that any interaction with the world brings us into its darkness. The lesson of Batman is to strive with the darkness around us, to realize that violence defines us, but we can be heroic nevertheless. -
Here Is Never a Dull Moment in Our Family, and to Simon, Who Will Always Be with Us
A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/93641 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Hollywood Superheroes The Aesthetics of Comic Book to Film Adaptation By James C. Taylor A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Film and Television Studies University of Warwick, Department of Film and Television Studies November 2016 1 Contents Illustrations .............................................................................................................................................. 4 Declaration ............................................................................................................................................. 11 Acknowledgements ................................................................................................................................ 12 Abstract .................................................................................................................................................. 13 Introduction .......................................................................................................................................... -
Superman's Editor Mortimer Weisinger
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations August 2017 “Superman’s Editor Mortimer Weisinger”: the Success and Extension of the Superman Brand in the Silver Age of Comics Justin Engelbart University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Journalism Studies Commons Recommended Citation Engelbart, Justin, "“Superman’s Editor Mortimer Weisinger”: the Success and Extension of the Superman Brand in the Silver Age of Comics" (2017). Theses and Dissertations. 1611. https://dc.uwm.edu/etd/1611 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. “SUPERMAN’S EDITOR MORTIMER WEISINGER”: THE SUCCESS AND EXTENSION OF THE SUPERMAN BRAND IN THE SILVER AGE OF COMICS by Justin Engelbart A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Media Studies at The University of Wisconsin-Milwaukee August 2017 ABSTRACT “SUPERMAN’S EDITOR MORTIMER WEISINGER”: THE SUCCESS AND EXTENSION OF THE SUPERMAN BRAND IN THE SILVER AGE OF COMICS by Justin Engelbart The University of Wisconsin-Milwaukee, 2017 Under the Supervision of Richard Popp My thesis examines the career of Detective Comics’ editor Mortimer Weisinger from 1957-1970, during which time Superman transitioned from a simple character to a complex brand. It details the creation of the character and subsequent growth into multiple mediums. Weisinger’s greatest contribution to the hero was an extended mythology and spin-off comic series.